Preface vii
Acknowledgments viii
Introduction ix
PART 1 Melody: Its Components
Melody: Some Basics 2 (6)
Melody; Melodic Phrase; Conjunct/Disjunct
Melodic Motion; Writing for the Voice; The
Lead Sheet; Guidelines for Lead Sheet
Writing; Repeat Signs
Pitch 8 (6)
Harmonic Series; The Major Scale; Stable
and Unstable Tones; Tone Tendencies;
Tonally Open and Closed Phrases
Exercise 10 (2)
Independent Melody; Unstable Tones Ending
Phrases
``My Old Kentucky Home'' 12 (1)
``Yellow Rose of Texas'' 12 (1)
Assignment 13 (1)
Rhythm 14 (10)
Pulse, Meter, and Rhythm
... ``Gregorian Chant'' 14 (5)
Stress Symbols; Summative Stress;
Additional Considerations in Stress
Assignment 19 (3)
Masculine/Feminine Endings; Beyond Simple
Prosody
Exercise 22 (1)
``Love Is You'' 22 (1)
Assignment 23 (1)
Tone Tendencies 24 (3)
Immediate Resolution, Delayed Resolution,
and No Resolution
Assignment 25 (2)
Symmetry/Assymetry 27 (10)
Compostional Variables; The Number of
Phrases; Balance vs. Symmetry; Phrase
Lengths; Phrasal Balance
Exercise 29 (3)
The Rhythm of the Phrase; Matched,
Inexactly Matched, and Unmatched Phrases
Assignment 32 (4)
Correspondence of Matched Phrases with
Rhyme; Outer Matching; Matched Rhythms;
Inner Rhythmic Matching; Open and Closed
Exercise 36 (1)
Assignment 36 (1)
Melody in Minor 37 (3)
Overtone Series; The Minor Scales; Natural
Minor or Aeolian Mode; Harmonic Minor;
Melodic Minor
Assignment 39 (1)
Melodic Outline; Melodic Contour 40 (11)
Melodic Outline; Melodic Step Progression;
Embellishing the Melodic Outline; Analysis
of Structural Tones and Embellishing Tones
``Can't Take My Eyes Off of You'' 45 (1)
Assignment 46 (2)
Melodic Contour: Ascending, Descending,
Arch, Inverted Arch, and Stationary
``Because You Loved Me'' 48 (2)
Assignment 50 (1)
Controlling the Speed of Your Song 51 (5)
Phrasal Acceleration/Deceleration; Use of
Phrasal Acceleration/Deceleration in
Songwriting
Exercise 53 (2)
Rhythmic Acceleration/Deceleration
Exercise 55 (1)
Melodic Placement 56 (4)
Phrase Endings; Phrase Beginnings; Pickup
Notes; Beginning on the Weak Part of the
Measure or Metric Grouping
``Love Is You'' 58 (2)
Building Sections 60 (13)
The Order of the Phrases; Building a
Symmetric Section; Building a Balanced but
Not Perfectly Symmetric Section; Open or
Closed?; Creating Open Sections;
Unbalancing a Sections; Creating
Interesting Balanced Sections; Fragmentation
Assignment 72 (1)
Developmental Techniques 73 (12)
Motive; Variety within Unity; Developmental
Technique #1: Retain the Rhythmic
Structure, Change the Pitch, Sequence
Assignment 74 (4)
Use of Developmental Technique #1 in
the Compositional Process; Developmental
Technique #2: Varying the Phrase
Structure; Extension and Truncation
Assignment 78 (4)
Developmental Techniques
Assignment 82 (3)
Form 85 (7)
Song Forms; The Central Statement; Song
Sections: Verse, Refrain, Chorus, Bridge,
Transitional Bridge, Primary Bridge;
Frequently Encountered Song Forms; The
``Standards'' Song Form; The Introductory
Verse; The Chorus; The Concept of Open and
Closed and Its Relationship to Form;
Verse/Refrain; Verse/Chorus; Bridge Sections
Assignment 90 (2)
Part 2 Melody-Harmony Relationships
Functional Harmony and Harmonic Progression 92 (4)
Tonic Function Triads; Subdominant Function
Triads; Dominant Function Triads;
Stability/Instability in Harmonic
Progression; Functional Harmonic
Progressions
Exercise 95 (1)
A Unified Theory of Melody and Harmony 96 (6)
Melodic Progression; Independent and
Dependent Melodies; Why a Unified Theory?
Assignment 100 (1)
``Come Rain or Come Shine'' 101 (1)
Non-Chord Tones and Tensions 102 (8)
Non-Chord Tones: Neighbor Tone, Changing
Tone, Passing Tone, Unprepared Approach
Tone, Escape Tone, Anticipation, Suspension
Assignment 104 (2)
``Killing Me Softly'' 106 (3)
Tensions; Non-Chord Tones and Tensions
Assignment 109 (1)
Making Harmonic Choices 110 (5)
Harmonic Choices
Assignment 114 (1)
Melody/Bass Relationships 115 (10)
Motion of the Bass to the Melody: Oblique
Motion, Parallel Motion, Similar Motion,
Contrary Motion; Chord Inversions;
Assignment 120 (4)
Consonance/Dissonance of Intervals
Assignment 124 (1)
Harmony in Minor 125 (16)
Traditional Harmony in Minor: Natural
Minor, Harmonic Minor, and Melodic Minor;
The Harmonic Minor Scale; The Melodic Minor
Scale; Melody/Harmony Relationships in
Minor; Minor to Major/Major to Minor; Use
in Form; Modal Interchange
Assignment 130 (8)
Additional Melodic/Harmonic Considerations
Harmonic Rhythm; Harmonic Cadence; Use in
Form; Harmony's Effect on the Phrase; The
Harmonic-Metric Phrase and the
Melodic-Rhythmic Phrase
Assignment 138 (1)
``The Long and Winding Road'' 139 (2)
Starting with a Chord Progression 141 (4)
Melodic Integrity; Front-Heavy, Back-Heavy
Melodic Phrases
Assignment 144 (1)
Pedal Point, Sus Chords, and Chords without 145 (9)
Thirds
Pedal Point
Assignment 146 (6)
Sus Chords and Chords without Thirds;
Chords without Thirds
Assignment 152 (2)
Blues/Rock 154 (11)
Major Pentatonic; Minor Pentatonic;
Independence of Melody and Harmony;
Characteristic Rock Harmony; Root Motion
``Addicted to Love'' 157 (6)
Form in Blues and Early Rock; Emphasis at
the Beginning; Emphasis at the Subdominant;
Emphasis on the Dominant or on the Final
Cadence; Adding a Bridge to the Blues;
Other Blues-Derived Forms; Stylistic
Considerations
Assignment 163 (2)
Modes 165 (10)
Aeolian Mode or Natural Minor; Chord
Progressions in the Aeolian Mode; Strong
Cadencing Progressions; Root Motion; Dorian
Mode; Chord Progressions in the Dorian
Mode; Mixolydian Mode; Typical Mixolydian
Progressions; Use of Pedal Point
Assignment 174 (1)
Afterword 175 (1)
Biography 175